Dave
Chappelle has been proclaimed by many to be a comic genius. I’ve long been
a fan of the quick witted, multi-faceted comedian and like all of his fans, was
concerned and confused by his (meltdown?) and subsequent retreat to Africa. Not
that it really strikes me as being out of character for the impulsive star. His
seeming overnight success, coupled with his meteoric rise to superstardom would
give anyone pause - particularly someone so willing to bare his soul for the sake
of his art and his fans. It’s not hard to envision Dave (burdened heavily
as he was) by expectations to maintain that level of genius he’d set for
The Chappelle Show - perhaps having a frustrating day on the set and just snapping,
“screw it, I’m goin’ to Africa,” spin on his heal and do just
that.
Some
wise man (probably Carnegie) once said something to the effect that ‘you
don’t measure a successful man by how many times he falls down, but rather
by how many times he picks himself up.’ Now you can debate all you want about
whether or not Dave Chappelle is a comic genius - but the way he has picked himself
up is almost beyond genius. Using his own money and I dare say a bit of inspiration
from Paul McCartney and Willie Wonka, Dave has literally staged one of the most
wondrous comebacks in entertainment history.
Dave
Chappelle’s Block Party is equal parts therapy and rebirth for the popular
comedian, and documents the kind of magic this man can conjure up with a little
love and lot of help from his friends. I think the real key to why this thing
turned out to be such an unqualified success is that Chappelle was relaxed. By
bankrolling it himself he erased much of the pressure of expectation and this
sense of informal celebration underscores every frame. It certainly didn’t
hurt to have the world’s foremost cinemagicians, Michel Gondry, in charge
of capturing the party on film. Gondry plays it pretty straight, right off the
bat he recognizes that the best approach to directing this thing is to simply
lay low, stay out of the way and let Chappelle create. It is through his impeccable
editing (particularly after the concert gets underway) that Gondry leaves his
thumbprint on the proceedings.
I’ll
just cut to the chase and give you an idea of the caliber of musical friends that
Dave invites to his little ole shindig - basically the cream of the hip hop crop:
Kanye West, Common, Bilal, Cody Chestnut, John Legend, Jill Scott, Talib Kweli,
Erykah Badu, Mos Def, The Roots, Dead Prez and the coup de grace for the finale
- the reunion of the Fugees. DAMN! Both on stage and cutting it up in rehearsal
with Dave goofing on the mic the mood is one of camaraderie - and the joy of giving
back to the fans and the people in the streets from which many of them grew up.
The documentary includes hunting down the location for the event which is to take
place somewhere in Brooklyn’s Bed-Stuy neighborhood.
Though
the concert itself is a total knock out, I think the best parts of the film were
during the preparation. Dave invites a college marching band from his hometown
of Dayton Ohio, and it just does your heart good to see these kids react as if
they’d just hit the lottery. Along the bus ride to Brooklyn Dave begins giving
out golden tickets to a wide variety of people from varying age groups, almost
all of whom react with the same spontaneous joy and hop on the magical mystery
bus with little more than a vague notion of where they might be going. Almost
to a man there’s a sense of abandon, as though they don’t know exactly
where they’re being taken or what's going to happen, but whatever it is it’s
going to be cool. Everyone seems caught up in the moment and along for the ride.
Along the way Dave keeps the laughs coming sometimes at the expense of a potential
rider, but it’s all in fun and people just seem to get it and respond to
it in the joking manner it was intended.
The
concert eventually gets underway on a porch/stoop turned stage of a Day Care Center
(supposedly Notorious B.I.G. was once taken care of within) The location is key
to the sense of community that pervades the festivities. One rapper gave an impromptu
history lesson as to which rapper grew up two blocks over this way and which band
started up 3 blocks over that way on and on. The film ends up being equal parts
concert, comedy and documentary and once the stage is ready and the weather somewhat
cooperative it’s the musicians turn to make good on the mysterious promise
of this block party. Kanye West is up first, playing in tandem with the marching
band who are clearly as happy as a human being can get without snapping the tissue
that holds one’s brain together. Again Gondry’s editing between the
music on stage, the ecstasy in the streets and Chappelle’s easy clowning
is masterful. It all comes at you like one gigantic smile.
There
are obvious overtones of Afro-centric unity, along with the ethos of rap music,
not only in lyrical content, but it’s do-it-yourself satisfaction. But Chappelle
was seemed very conscious about keeping this a Block Party instead of a Black
Party and that is the thing you take away from this film - this wonderful sense
of acceptance and humanity. Even if only for a day Chappelle created a Utopia
where everyone, EVERYONE was more than welcome to take part, to celebrate the
good things and the beauty that we all have within us. This was a Block Party
about giving, and gratitude and grace and as the gossamer voices of Jill Scott,
Erykah and Lauren Hill elevate his baby into a peak experience for musician, man
on the street, and theater patron in their seat, there could only be a smile on
Dave Chappelle’s sly face. He had emerged from his dark time, triumphant.
He had overcome. Perhaps the best film experience so far this year.
